Staples has always lived in a few worlds: art-rap hero, hall-of-fame interviewee, and a homebody whose inner life is none of our business. On Dark Times, his worlds finally converge.
Staples has always lived in a few worlds: art-rap hero, hall-of-fame interviewee, and a homebody whose inner life is none of our business. On
Staples has spent his unusual rap career living in several worlds at once. On 'Dark Times,' his worlds finally converge, the titular rapper’s Netflix tragicomedy about a fictional version of himself, that puts the dual nature of his fame in stark terms. The onscreen Vince applies for a small business loan at a high-class bank, and is effectively laughed out of the room after disclosing his day job.
Staples has had the kind of major label career that isn’t supposed to be possible anymore. In 10 years, he has released eight projects — six on Def Jam, two on Motown — none of which have charted higher than No. 16 on the200. He’s never had a single even touch the Hot 100, as a soloist or guest. These are the kind of metrics that drive label people insane, especially considering the magnetic disposition of the man behind the goods.
Giving back also means giving in to some long-standing questions about his accessibility. Survivor’s guilt and responsibility factor heavily into these songs, as do the people to whom he feels accountable. As a result, the raps are performed with a mumble-mouthed reluctance and a matter-of-fact acceptance, producing some of his most bittersweet music.
That “Right?” is a rare occurrence in his career, a moment of admitted uncertainty. The line is not the first time on the album he invokes thepoem"The Rose that Grew from Concrete," a nod to his own trajectory flourishing in adverse conditions. At the end of, he appears to wonder if such a healing is really possible, his underlying skepticism creeping back to the surface. After all, a cult hero in the streets can find his influence has limits in the wider world beyond.
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